DOCSLIB.ORG

Eric Whitacre's Sleep

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eric Whitacre's Sleep A GUIDE TO REHEARSAL AND PERFORMANCE Eric Whitacre’s SLEEP Russell Cowieson Sleep, originally an a cappella choral under the Hyperion label in spring 2006 - Lento - If you are working with a young piece composed in 2000, was reached number one in the classical charts. band the tempo of the lento is probably going to be determined by how slowly commissioned by the ‘Big East More information about the composer and they can play the phrases in one breath. Conference Band Directors Association’ his works can be found at Lontano - discuss with them what lontano www.ericwhitacre.com whose many members are to be found means - ‘as from a distance’ - and how printed in the score. Published by they can achieve this effect. Talk about Carpe Ranam and distributed by Hal Instrumentation trying not to produce a sound which is too Leonard, it was premièred by Rutgers Scored for flute 1&2, oboe 1&2, clarinet 1- ‘present’ in the room. Wind Ensemble on April 26th, 2002. 3 and bass clarinet 1&2, AATB saxophones, Molto legato requires a constant 1 bassoon, 4 horns, 3 trumpets, 3 concentration on their breathing and also Written for wind band with optional SATB trombones, 2 baritones and 2 tubas. knowledge of the length of the phrase they chorus, it has been given an appropriate Three percussionists and timpani are are playing. grade three level, achievable by good required. Chorale like - again, discuss what a school bands. Rehearsal Suggestions chorale is (regularly refer to this throughout the rehearsal process to enhance the Performance time is approximately five and Sleep is on the current ncbf repertoire list singing qualities of the line) and how this a half minutes. (grade three), therefore I offer this guide to also implies a freedom of movement within rehearsal and performance from the Sleep had been intended as a setting of the phrase. Robert Frost’s Stopping by Woods on a perspective of a conductor working with a young band. Snowy Evening. After extensive legal battles, OPENING Whitacre was forced to discontinue use of Because the piece can be performed with Frost’s text, and turned to American poet optional SATB chorus, we have the added First phrase (bar 1-4) and friend Charles Anthony Silvestri to craft bonus of the score of the original choral There is no introduction; the music begins a new text to fit the already existing music. version being placed in the middle of the immediately with the first phrase. Silvestri’s text was inspired by watching his full score. This helps us to understand how Scored for clarinets, horns, baritones and son fall asleep and fits the music so the text of Silvestri’s poem fits the music, tuba. beautifully one would never know it came helps us with the pacing of the music and Bar 1 Aim for a true pianissimo, but after the composition. also with the emotional context. don’t let it do damage to the line. Make Eric Whitacre In the first rehearsal I read the poem to sure the air supply is supported enough to Eric Whitacre studied at the Juilliard School, the band, so they understand the context. allow the musicians to play through the earning his Master of Music degree and It makes a nice change from the usual line, especially when the line (see first horn) studying with Pulitzer Prize and Oscar- rehearsal routine, to ‘escape’ the band doesn’t move by step. Balance the winning composer John Corigliano. room, and consider other art forms. I ensemble to the best pianissimo horn return to the text regularly throughout the sound. Many of Whitacre’s works have entered rehearsals, especially when working with a 2 Beat 1 – possible errata, the concert the standard choral and symphonic young band, as it helps them to connect Ab in the tenor (original choral parts) is repertories. His works Water Night, emotionally with the music. Cloudburst, Sleep, Lux Aurumque and A Boy missing in the score. This could perhaps be and a Girl are among the most popular Whitacre gives no metronome mark but solved by one of the baritones or third choral works of the last decade, and his gives the directions ‘Lento lontano, e molto clarinet. legato’ and ‘Chorale-like’. Ghost Train, Godzilla Eats Las Vegas, and 3 As there is obviously no text to sing, In general I find that most young musicians’ October have achieved equal success in the the concert Eb is not rearticulated - see the understanding of Italian terms doesn’t symphonic wind community. To date, alto in choral version - which helps the extend beyond tempo. They have failed to Whitacre’s published works have received legato quality of the harmonic grasp that they can also give extremely thousands of performances and sold well accompaniment. There are many other important and useful direction as to the over 350,000 copies worldwide. places in the score where this happens. character of the music. It is always His music has been featured on dozens of worthwhile taking the time to explain to 4 Allow time to finish phrase and breathe commercial and independent recordings, and a them. as an ensemble. full collection of his a cappella music - released Winter 2006 WINDS 21 Second phrase (bar 4-7) diminuendo, or the contrasting mp needed must resist the temptation to change Same instrumentation as first phrase. in bar 18 will be lost. A generous acoustic dynamics. makes this much easier for a young band. 5 The clarinet does not repeat the Rehearsal letter B concert Eb in the melody but the first horn Second phrase (bar 18-21) Note the direction transparente in the does. Although the clarinet minim helps Whitacre ‘moment’ in terms of scoring. I choral version which is not on the band ensure the line, it is important that we hear like very much that he isn’t afraid to use version. I like to add this direction. the repeated crotchets in the horn line in flutes in the lowest range. He manages to Whitacre has tried to create the sound order for the syllable of the text to be score these moments so well that it is with his scoring (upper woodwind and heard. Maintain the pianissimo dynamic and possible to hear the flutes produce the percussion) but it is possible to go further lontano effect. wonderful full tone in the lower register and present a challenge to the musicians. 7 Again allow time to finish phrase and that they are capable of. One of the difficulties wind bands have is breathe as an ensemble. The first two Depending on the acoustic you might that the sound very often lacks the phrases have now been musically, yet have to allow the sound to clear (before transparency that an orchestra can achieve deliberately, rounded off which sets up a you play the second phrase) in order to (to describe at its most basic strings are contrast with the next two phrases. hear the second flutes’ low C (encourage able to play on a different part of the a full dynamic from them and remind the strings with a much lighter contact which Third and fourth phrase (bar 7-10 others to listen; they must be aware they creates this transparency of sound). The and 10-13) need to balance to the flute). percussion section of the band is excellent Same instrumentation as first phrase. at achieving this but wind instruments find 21 Instruments are all sitting on a The next two phrases (bars7-10 and 10- this more difficult. Doesn’t mean we comfortable note for their instrument, so 13) are joined to make one long phrase. shouldn’t try. diminuendo from mp is easily achievable. Make sure ensemble breaths deeply Ask the woodwind to imagine singers Be mindful of the poco più mosso, don’t enough to play the two phrases in one long performing this section with a breathier slow down through the diminuendo and unbroken line. tone and then ask them to attempt to work on getting the ensemble to take a The diminuendo before letter A (end of create this on their instruments. A sound quick breath which signals their intention phrase) acknowledges that there will have less focused, with less centre or ‘contact’. to move on. been some shaping (growth) of dynamic in This can of course adversely effect the the phrase. A small amount of rubato intonation so beware of potential Third and fourth phrases (bar 21- through the phrase is appropriate but not problems. 23 and 23-27) too much or it will ruin the effect of the The ensemble must balance to oboe As in the opening section of the piece to poco più mosso at figure A. which leads this section. letter A, the third and fourth phrases are Avoid the tendency to diminuendo too 13 Inexperienced players will need to hold linked to create a longer phrase. Don’t soon after beat two rather than from beat their nerve to control intonation on this forget the poco più mosso and flow three and don’t labour the chord (clash between concert E and through these two phrases. Work on a crescendo/diminuendos; be always aware of concert F). I usually have to spend some smooth transition of instrumentation from più mosso. time on this to reassure them that the phrase three to four (some fade out, ‘clash’ of notes is correct. Due to the others fade in). 27 Flute must be heard on the upbeat to nature of the harmony there are many 28. I dwell very slightly on the note then 21-23 Bassoon, tuba, clarinet 3, other moments in the piece which may give an upbeat into 28 which signals the trumpet 1 need to be encouraged to play require the same attention (e.g.
Load more

Recommended publications
  • Assignment 2
    MUSI 231 & 232 Orchestration and Arranging ASSIGNMENT #2 1. Analyze the form of at least two songs Aurally, by listening to them WITHOUT referring to a lead sheet. Written assignment, on the reverse side of this page, is to be turned in next week. 2. Copy and transpose 2 parts to “My Romance” from the lead sheet. Prepare parts for: nd 1) Bb Trumpet (transposed up by a major 2 ), and th 2) Eb Alto Saxophone (transposed up by a major 6 ). REQUIREMENTS: • This is a handwritten assignment. Use a #2-grade (or lower) dark pencil. • Use 8-stave music paper. (See below for free download website) • Copy each part using 4 measures per stave. Use a ruler for bar lines. • Place Clef, Transposed Key Signature, and Time Signature at the beginning of the first stave. • Key signature only at the beginning of every subsequent stave. • Transpose the chord changes, and write them above the stave over the appropriate place in the measure. (Use “Maj7”, “mi7”, “miMaj7”, “7 (b5)”, “9 (#11)”; “O7” for “dim7” is acceptable but not necessary.) • Write measure numbers under EVERY measure, just below and to the right of each bar line. • Use a double bar line at the start of each 8-measure phrase. • Write REHEARSAL LETTERS above each double bar. (Use A, B, C, D. Enclose each rehearsal letter in a square box.) • Write the TITLE (MY ROMANCE) centered above the first stave, in large letters. • Write the INSTRUMENT (Trumpet, Alto Sax) on the upper left side, above the first stave. • Write your NAME on the upper right side, above the first stave.
    [Show full text]
  • Dictionary of Braille Music Signs by Bettye Krolick
    JBN 0-8444-0 9 C D E F G Digitized by the Internet Archive in 2012 with funding from National Federation of the Blind (NFB) http://archive.org/details/dictionaryofbraiOObett LIBRARY IOWA DEPARTMENT FOR THE BLIND 524 Fourth Street Des Moines, Iowa 50309-2364 Dictionary of Braille Music Signs by Bettye Krolick National Library Service for the Blind and Physically Handicapped Library of Congress Washington, D.C. 20542 1979 MT. PLEASANT HIGH SCHOOL LIBRARY Library of Congress Cataloging in Publication Data Krolick, Bettye. Dictionary of braille music signs. At head of title: National Library Service for the Blind and Physically Handicapped, Library of Congress. Bibliography: p. 182-188 Includes index. 1. Braille music-notation. I. National Library Service for the Blind and Physically Handicapped. II. Title. MT38.K76 78L.24 78-21301 ISBN 0-8444-0277-X . TABLE OF CONTENTS FOREWORD vii PREFACE ix HISTORY OF THE BRAILLE MUSIC CODE ... xi HOW TO LOCATE A DEFINITION xviii DICTIONARY OF SIGNS (A sign that contains two or more cells is listed under its first character.) . 1 •* 1 •• 16 • • •• 3 •• 17 •> 6 •• 17 •• •• 7 •• 17 •• 7 •• 17 •• •• 7 •• 17 •• •• 8 •• 18 •• •• 8 •• 18 •• •• 9 •• 19 •• •• 9 •• 19 • • •• 10 •• 20 • • •• 12 •• 20 •• 14 •• 20 •• •• 14 •• 22 • • •• •• 15 • • 27 •• •• •« •• 15 • • 29 •• • • •« 16 30 •• •• 16 • • 30 30 i: 46 ?: 31 11 47 r. 31 ;: 48 •: 31 i? 58 ?: 31 i; 78 ::' 34 :: 79 a 34 ;: si 35 ;? 86 37 ;: 90 39 ':• 96 40 ;: 102 43 i: 105 45 ;: 113 46 FORMATS FOR BRAILLE MUSIC 122 Format Identification Chart 125 Music in Parallels
    [Show full text]
  • Brian Baldauff Treatise 11.9
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love.
    [Show full text]
  • Waves of Refraction for Guitar and Tape
    Waves of Refraction for guitar and tape by Jon Christopher Nelson © 1992 Waves of Refraction (1992) for guitar and tape creates aural illusions which are analogous to the visual illusions of light waves refracted through water. Just as an object submerged in water appears slightly warped and unstable, the guitar refracted by the computer-generated tape sounds altered and mutable. At the beginning of the composition, the tape accurately replicates the guitar sounds. However, the tape quickly undergoes a metamorphosis, becoming more unusual and exploratory as the composition unfolds. The guitar also presents material that changes from nervous and disjunct figuration to more lyric lines. Waves of Refraction was commissioned by Carlos Molina, to whom the composition is dedicated. The computer-generated tape was produced in the Florida International University Electronic Music Studio. Notes for the performer: Chromatic alterations apply throughout the measure. The guitar part may be played with a certain amount of liberty. The fermatas and pauses are included to provide the performer with moments to wait for the tape cues (if waiting is necessary). In addition to the exceedingly fast finale and the percussive guitar punctuations throughout the score, there are five different musical styles juxtaposed in this work. These playing styles are marked with rehearsal markings A, B, C, D, and E. Although specific rhythms have been notated within the tempi provided in the score, it may be easier to simply have a rough idea of tempo for each of these styles. The music within the A sections should be fast and the rhythms should be played as accurately as possible.
    [Show full text]
  • Acknowledgments
    ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R.
    [Show full text]
  • Adjudicator Instructional Booklet 2015-2016
    2015-2016 Adjudicator Instructional Booklet MSHSAAMissouri State High School Activities Association On behalf of the MSHSAA Board of Directors and Staff THANK YOU for adjudicating this music festival. The purpose of this packet is to provide you with basic information you will need to adjudicate the MSHSAA District and/or State Music Festivals. The Festival Manager will cover this information with you at the required pre-festival meeting as well as any additional information that you will need throughout the day. You may also find it beneficial to keep this packet with you in case you need to refer to throughout the day. Please take a few moments to familiarize yourself with the contents of this packet prior to beginning your adjudication responsibilities. Again, thank you for adjudicating this festival. In this packet you will find the following information: 1. 10 Points to Consider 2. Music Manual Highlights 3. Adjudicator Instructions 4. MSHSAA Music Festival Definition of Ratings 5. General Instructions for Sight Reading Adjudicators 6. Sight Reading Instructions – Instrumental 7. Sight Reading Instructions – Vocal 8. Adjudicator Evaluations and Instructions on How to Access 9. Sample Adjudication Forms 10 Points to Consider 1. Music Festivals are For the Students: The adjudication form is your only opportunity to work with the performer(s). Remarks should be made directly to the performer(s). 2. The Festival Experience Must Provide For Improvement: If improvement is to take place, it is imperative for the adjudicator to provide comments, suggestions and directions for a recommended course of action. “Great”, “Good”, “Fine Work”, etc. are nice comments to receive but provide the teacher or performer(s) with little direction for further work and study.
    [Show full text]
  • Conductors' Annotated Scores: a Comprehensive Study Leandro De Magalhaes Gazineo [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2-19-2019 Conductors' Annotated Scores: A Comprehensive Study Leandro de Magalhaes Gazineo [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation de Magalhaes Gazineo, Leandro, "Conductors' Annotated Scores: A Comprehensive Study" (2019). LSU Doctoral Dissertations. 4807. https://digitalcommons.lsu.edu/gradschool_dissertations/4807 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CONDUCTORS’ ANNOTATED SCORES: A COMPREHENSIVE STUDY A Dissertation Submitted to the Graduate FaCulty of the Louisiana State University and AgriCultural and MeChaniCal College in partial fulfillment of the requirements for the degree of Doctor of MusiCal Arts in The SChool of MusiC by Leandro de Magalhães Gazineo B.M., Universidade Federal da Bahia, 2000 M. M., Universidade Federal da Bahia, 2004 May 2019 To my wife Carmem ii Music can name the unnamable and communicate the unknowable. Leonard Bernstein iii ACKNOWLEDGEMENTS First, I would like to express my sincere gratitude to my advisor Prof. Carlos Riazuelo for his Continuous support and guidance. In addition, I would like to thank the rest of my dissertation’s Committee: Prof. MiChael Gurt, Dr. John DiCkson, and Dr. Todd Gibson, for their insightful comments and encouragement, but also for asking the hard questions that guided me to widen my research from various perspeCtives.
    [Show full text]
  • Energizing the Orchestra Rehearsal: Getting in Touch with Your Inner 7Th Grade Self
    Energizing the Orchestra Rehearsal: Getting in Touch with Your Inner 7th Grade Self FMEA Conference James Mick, Ph.D. Tampa, Florida Ithaca College January 15, 2015 [email protected] Posture • Stomp-Stomp • Stand up without moving feet • Stretch-the-String / Grow an Inch • Worst to First – show bad/unacceptable followed by perfect • Fix the Teacher Technique • Form bow holds on a variety of items – straws, pencil, pixie sticks, music stand leg, etc. • Spell name on ceiling – finger flexibility; do it with forearm resting on a stand • Paper cup relay – teams pass the cup maintaining perfect holds while going through an obstacle course • Lifesaver Olympics – obstacle course while keeping the lifesaver or washer on the tip • Posture Police – select students are given badges and permission to find and help correct someone before they receive a violation citation • Spider races • Professional Picture – take pictures of students with perfect LH, RH, and posture to post around the room • Dot-to-Dot – place small circle dots on the instrument; as students walk in, use a marker to put dots on their hands (e.g. finger tips, inside of bas knuckle); match dots • Bow hold parade – parade around room/school to march music; hand out medals for best holds • Dr. Arco Pizzicato – students diagnose sicknesses and provide remedy prescriptions • Twelve Days of Orchestra – different theme/goal for each day • Intense Rehearsal Days – “Miss it, Mark it” or “Picky Pinky Day” • Technique Brochure – students must create by explaining 3-5 points for perfect posture,
    [Show full text]
  • Eph Ehly on Conducting Music Festivals
    35/1011H Eph Ehly on ConduCting MusiC FEstivals ContEnts About this Resource ........................................................................................................................ 2 Getting Started ................................................................................................................................ 2 Philosophy ....................................................................................................................................... 3 Leading Rehearsals .......................................................................................................................... 4 Programming ................................................................................................................................... 8 Six Basic Fundamentals ................................................................................................................... 9 Festival Preparation Checklist ........................................................................................................ 14 About the Author ........................................................................................................................... 16 Editor: Kate Dickey McEwen • Type Design: WordStreamCopy © 2012 Heritage Music Press, a division of The Lorenz Corporation. P.O. Box 802, Dayton, OH 45401. www.lorenz.com. All rights reserved. 1 about this REsouRCE “How does one get invited to conduct music festivals?” I have been asked this many times. It’s a good question, but it has no simple answer.
    [Show full text]
  • A Letter from Janelle Sheet Music
    A Letter From Janelle Sheet Music Bonnie or kingdomless, Antin never soup any drolleries! Unilluminating Arther disillusionise, his avulsions rejudges abjuring autumnally. One-horse Ahmad sometimes communalizes any floatage mountebanks deceitfully. Easy piano notes with letters notes easy notes easy piano kalimba notes easy. Lichte first became victim of Jesse Givens' letter nor his bar when. Music track for harmony and counterpoint Pinterest. Fun Fleecie Moore Frankie Goes To Hollywood fun featuring Janelle Monae Fleet Foxes Frankie J Funeral through A. SmartScore reads rehearsal letter markings as chord tablature notation Knowing. Janelle Sheet Music Personalized Name Letter J Blank. Letter To Bts Weverse kamafitpl. So either invite you to prohibit to our Facebook page or expire a suppose to the editor. Tightrope By Janelle Monae Digital Sheet are Free. Janelle was always looking car for Jack's interests. I copy and pasted from other versions in writing you one with this. How Janelle Mone Found Her Voice in New York Times. Have the ocean and american musics from a letter from janelle acoustic chords. Sure accept're all outstanding from the same fountain of face but this turned out too be the mistake. Feature please State Daily. Ten Important LGBT Figures in race History Musicnotes Now. There was limited and sheet music! Mr Let's your Music Over 150 songs each with lyrics sheet still a video of the Aug 16 2017 In a letter exactly The Virginian-Pilot 4 female inmates say they. 957 pop songs for mezzo-sopranos Stars & Catz. Show debt in type Shadow Box Studio 5.
    [Show full text]
  • *Measurecounts.Txt
    Chamber Music Conference Works with Measure Number Totals by Movement Last Updated July 13, 2019 Copyright 2019 Chamber Music Conference and Composers' Forum of the East Ades Catch: The parts and score are pre-numbered. Anderson Quintet: The printed rehearsal letters in only edition (Bass-Is) are adequate without numbering the part. Arensky Quartet Opus 35: I:213; II:279; III:116 Arensky Trio Opus 32: I:233; II:335; III:78; IV:144; Malcolm Arnold 3 Shanties Wind Quintet: I:138; II:53; III:180 Arriaga #1 String Quartet: I:226; II:93; III:94; IV:266 Baaren Trio (1936): I:74; II:54; III:91 Bacewicz Wind Quintet: I:204; II:50; III:60; IV:83 Bacewicz Piano Quintet: I: 295; II: 301; III: 100; IV: 162 Bacewicz Trio (1935): I:102; II:47; III:127 Bach Trio Sonata Bwv 1037: I:30; II:141; III:28; IV:80 Bach Trio Sonata Bwv 1038: I:33; II:52; III:17; IV:35 Bach Trio Sonata Bwv 1039: I:28; II:113; III:18; IV:142 Bach Trio Sonata Bwv 1079: I:48; II:249; III:30; IV:113 Barber Dover Beach: total:123 Barber Summer Music Wind Quintet: The printed rehearsal letters are adequate without numbering the part. Bartok #1 String Quartet: I:71; II:367; Introduzione: 33; III:380 In the third movement, do count the single beat general pause bars at measures 265 and 323. Bartok #2 String Quartet: II:577; III:141 In movement I, the cello part is in a non-aligned meter at rehearsal number 8.
    [Show full text]
  • Efficient Optical Music Recognition Validation Using MIDI Sequence Data by Janelle C
    Efficient Optical Music Recognition Validation using MIDI Sequence Data by Janelle C. Sands Submitted to the Department of Electrical Engineering and Computer Science in partial fulfillment of the requirements for the degree of Master of Engineering in Electrical Engineering and Computer Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 2020 ○c Massachusetts Institute of Technology 2020. All rights reserved. Author................................................................ Department of Electrical Engineering and Computer Science May 12, 2020 Certified by. Michael Scott Cuthbert Associate Professor Thesis Supervisor Accepted by . Katrina LaCurts Chair, Master of Engineering Thesis Committee ii Efficient Optical Music Recognition Validation using MIDI Sequence Data by Janelle C. Sands Submitted to the Department of Electrical Engineering and Computer Science on May 12, 2020, in partial fulfillment of the requirements for the degree of Master of Engineering in Electrical Engineering and Computer Science Abstract Despite advances in optical music recognition (OMR), resultant scores are rarely error-free. The power of these OMR systems to automatically generate searchable and editable digital representations of physical sheet music is lost in the tedious manual effort required to pinpoint and correct these errors post-OMR, or evento just confirm no errors exist. To streamline post-OMR error correction, I developeda corrector to automatically identify discrepancies between resultant OMR scores and corresponding Musical Instrument Digital Interface (MIDI) scores and then either automatically fix errors, or in ambiguous cases, notify the user to manually fix errors. This tool will be open source, so anyone can contribute to further improving the accuracy of OMR tools and expanding the amount of trusted digitized music. Thesis Supervisor: Michael Scott Cuthbert Title: Associate Professor iii iv Acknowledgments Thank you to my advisor, Professor Cuthbert, for sharing your enthusiasm, expertise, and encouragement throughout this project.
    [Show full text]